Eric Benjamin, conductor

Ken Heinlein, tuba soloist

Dennis O’Connell, narrator

akronsymphony.org

330-535-8131

CONCERTS FOR KIDS

Concerts For Kids Series Sponsors

The Mary & Dr. George L.

Demetros Charitable Trust

Additional Support Provided By:

Concerts for Kids is a collaborative project of the Akron Symphony Orchestra

and the Akron Symphony Guild. Special thanks to the ASO Education Committee

Akron Symphony Staff who contributed to the resource packet:

Fran Goldman, Orzella Matherson and Sharon Smith

Kenneth L. Calhoun Charitable Trust

Kulas Foundation

Laura R. and Lucian Q. Moffit Foundation

Lloyd L. and Louise K. Smith Memorial

Foundation

The Brecksville Performance is made possible with the cooperation

of the Brecksville Center for the Arts and Mayor Jerry N. Hruby.

Before the concert …

Read and look at books, magazines, or programs about orchestras

Look for musicians and musical instruments

Listen to recordings of music and listen for different instrument sounds

Pretend you are the music director or one of the musicians

Do some of the activities in this guide before the concert

For the concert …

Be sure to arrive early enough to get ready for the music

Sit on the floor with your group of other kids, parents, or teachers

Look for the musicians and their instruments

Listen as they get ready for the concert

During the concert …

Enjoy the music!

Be ready to join in if the maestro wants you to do something

Until then stay seated so others behind you can see, too

Things to listen for …

Instruments playing loud, soft, slow, or fast

Hear how different the instruments sound

Familiar melodies or sounds

Things to look for …

Watch the musicians as they play

Watch the way the conductor moves and directs

Look for what the musicians may do with their instruments

Look for how they make their instruments make different sounds

Preparing for the Concert Experience

Program Goals

The program will address the following Pre-K Ohio Music Standards With substantial guidance, explore and experience a variety of music. With substantial guidance, explore music’s expressive qualities (such as voice quality, dynamics, and tempo). Identify same and different (e.g., fast/slow, loud/soft, high/low and long/short). Listen to and explore the music of various styles, composers, periods and cultures.

Kindergarten Music Standards Addressed

With guidance, explore and demonstrate awareness of music contrasts (such as high/low, loud/soft, same/different) in a variety of music selected for performance.

With guidance, demonstrate awareness of expressive qualities (such as voice quality, dynamics, and tempo) that support the creators’ expressive intent.

How music communicates feelings, moods, images Demonstrate proper audience behavior Identify a musician’s role, meaning of the term “musician” Explore selected musical instruments aurally and visually. Attend live music performances with emphasis on concert etiquette.

The following strands from Ohio’s New Learning Standards, Kindergarten through Grade 3, are addressed:

Strand: Creativity Express interest in and show appreciation for the creative work of others. Strand: Physical Well-Being With modeling and support, demonstrate ability to follow transportation and pedestrian safety rules. Domain: Social Emotional Development

Recognize and identify own emotions and the emotions of others. Demonstrate increased awareness of other’s feelings and perspectives. Demonstrate understanding that peers and adults think about what others are thinking (example: Matt is mad at

me and he knows that I know he’s mad). Communicate a range of emotions in socially accepted ways. Demonstrate an understanding that another person’s feelings differ from one’s own thoughts. Communicate to peers and adults regarding one’s feelings or how the actions of others affect one’s feelings.

AKRON SYMPHONY ORCHESTRA CHRISTOPHER WILKINS, MUSIC DIRECTOR

CONCERTS FOR KIDS ERIC BENJAMIN, CONDUCTOR

KEN HEINLEIN, TUBA SOLOIST

DENNIS O’CONNELL, NARRATOR

The Program

May 7 - First Congregational Church, Hudson May 11 - The House of the Lord, Akron

May 8 - First Congregational Church, Hudson May 14 - Brecksville Community Center

May 9- Lake Anna YMCA, Barberton May 15 - Temple Israel, Montrose

May 16 - Maranatha Bible Church, Green

Marche Militaire Franz Schubert

All Kinds of Sounds Rap Eric Benjamin

Flight of the Bumblebee Nikolai Rimsky-Korsakov

Mosquito Dance from Five Miniatures Paul White

Waltz from Suite No. 2 Igor Stravinsky

Simple Symphony Benjamin Britten

Playful Pizzicato

Frolicsome Finale

Canzon per sonare No. 2 Giovanni Gabrieli

Ragtime Dance Scott Joplin

Polka from Suite No. 2 Igor Stravinsky

TUBBY THE TUBA Music by George Kleinsinger

Ken Heinlein, tuba Story by Paul Tripp Dennis O’Connell, narrator

Galop from Suite No. 2 Igor Stravinsky

STRINGS

The String Family is made up of the violin, viola, cello

and bass. The sound of the string instruments is made

when the player moves the bow over the strings or plucks

the strings (called pizzicato). The basic difference between

the members of this family is the size of the instrument: the

larger the instrument, the lower the sound.

WOODWINDS

The Woodwind Family consists of flutes, oboes, clarinets and bassoons.

Other members include the piccolo, English Horn, bass clarinet, contrabassoon

and saxophone. Clarinets and saxophones have a single reed and mouthpiece

while oboes and bassoons have a double reed and no mouthpiece.

BRASS

The Brass Family - Brass instruments have a cup-

shaped mouthpiece. The player vibrates his lips into the

mouthpiece to produce the sound. The modern orchestra

brass section includes horns, trumpets, trombones and

tuba.

PERCUSSION

The Percussion Family is made up of instruments that make a sound by shaking or striking one object with

another. The timpani is the most important percussion instrument in the orchestra. There are many instruments in

this family, including drums, cymbals, gongs and mallet instruments such as xylophone and marimba.

Instrument Families

THE SCIENCE OF MUSICAL SOUND

Music is an art but there is science behind it.

Any sound begins with a vibration. For reed instruments like the oboe, clarinet or saxophone, the reed

vibrates. For string instruments like the violin or cello, the string vibrates. For brass instruments like the

trumpet, trombone or tuba, the player’s lips vibrate.

The vibrations travel through the air as a sound wave until picked up by the ear (and brain).

Pitch is how high or low the musical note sounds. A musical note is determined by the number of times

that the sound wave vibrates per second.

In all wind instruments it is the length of the air column that determines how high or low the pitch sounds.

The longer the tube, the lower the sound. The tube may be wound up: for example, if unwound the tube

of a tuba would be about 18 feet long. The player may change the length of the tube by opening and closing

holes or sending the air through slightly different lengths of tubing by opening and closing valves.

ACTIVITY

For each pair below, circle the lower sounding instrument.

1.

2.

Piccolo Tuba

Bassoon

Oboe

4. 5.

3.

Clarinet

Bass Clarinet

French Horn Trumpet

Trombone

Tuba

The Sousaphone is similar to a tuba but designed to be played while standing or marching. In 1893, the instrument was developed at the direction of the American bandmaster John Philip Sousa and it was named after him.

The Tuba

The tuba is the largest and lowest-pitched musical instrument in the

brass family. As with all brass instruments, the sound is produced

when the player vibrates his or her lips into a cup-shaped mouth-

piece.

The tuba first appeared in the mid-19th century, making it one of

the newer instruments in the modern orchestra and concert band.

The main tube of a B♭ tuba is approximately 18 feet long.

Franz Schubert Marche Militaire

Schubert (1797-1828) was an Austrian composer best known for his songs

(called Lieder), symphonies, piano and chamber works. Marche Militaire was

originally for piano four hands (two players on one piano). At the time Schubert

was teaching music to the daughters of Count Esterházy and the piece was used

for their instruction. Perhaps those of you who take piano lessons have or will

study this piece. Listen for the three sections - the opening, a middle section,

then a return to the opening music. Why do you think he called this piece Marche Militaire? What

about the music makes you think of marching?

Nikolai Rimsky-Korsakov Flight of the Bumblebee

Rimsky-Korsakov (1844-1908) was a Russian composer and an officer

in the Russian Navy. He wrote 15 operas as well as popular works for

orchestra including Scheherazade, Capriccio Espagnol and Russian

Easter Festival Overture. Flight of the Bumblebee is found in the

opera The Tale of Tsar Saltun, completed in 1900. It is intended to

sound like a flying bumblebee. The piece is a challenge to the musicians who are

required to play many notes very fast.

Scott Joplin The Ragtime Dance

Scott Joplin (1868-1917) was an American composer and pianist known as “The

King of Ragtime.” He wrote 44 original ragtime pieces. Ragtime is a style of

music, often played on piano, with a regular beat in the left hand and a bouncing

syncopated melody in the right hand. In syncopation the accents occur between

the beats, in a short-long-short pattern.

Joplin was born in Arkansas, later living in Texas, Missouri and New York City. In

1893, he went to the World’s Fair in Chicago and his participation helped to

make Ragtime a national craze by 1897. Ragtime later evolved leading to stride,

jazz and eventually swing.

The Ragtime Dance was first performed in Missouri in 1899. It was not a great success at the time but

became popular when it was used in the soundtrack to the 1973 movie, The Sting.

Igor Stravinsky Suite No. 2

Stravinsky (1882-1971) was a Russian-born composer, pianist and conductor

considered to be one of the most important composers of the 20th century. He

wrote three famous ballets: The Firebird (1910), Petrushka (1911) and The Rite of

Spring (1913). Stravinsky lived in Switzerland, France and the USA, becoming an

American citizen in 1945.

Like Schubert’s Marche Militaire, The Suite No. 2 was originally written as a set of

teaching pieces for piano four hands. Stravinsky arranged it for small orchestra in 1921. The three

movements that will be played on this program are all dance forms - a Waltz, a Polka and a Galop. The pieces

were each written as a tribute to certain people. The Polka (a lively dance in 2) represents the founder of the

ballet company that Stravinsky worked with, Sergei Diaghilev. The trumpet represents Diaghilev giving

commands to his dancers. The Waltz (a gliding dance in 3) is a tribute to the French composer Erik Satie. The

Galop (a fast ballroom dance in 2, named after the running of a horse) was for Stravinsky’s children,

Theodore and Mika.

Giovanni Gabrieli Canzon per sonare No. 2

Giovanni Gabrieli (C.1554 - 1612) was an Italian

composer and organist. He worked at St. Mark’s in

Venice, writing sacred music that included huge

choral and instrumental music for the church

services. A canzona is a piece composed for

various combinations and sizes of ensembles.

Canzon per sonare No. 2 dates from 1608. It is an example of antiphonal music -

music played by two groups alternating back and forth, an especially effective

technique in the large cathedral of St. Mark’s.

Benjamin Britten Simple Symphony

Britten (1913-1976) was an English composer, conductor and pianist. He wrote operas

and other vocal music, as well as orchestral music, including the popular The Young

Person’s Guide to the Orchestra.

His Simple Symphony was written between December 1933 and February 1934. It is

for string orchestra and has four movements. The Akron Symphony will perform two

of the movements, the Playful Pizzicato and Frolicsome Finale. Pizzicato means to

pluck the string with your finger instead of using the bow. How do you think Britten

makes this piece sound playful? The Finale is the last movement of the Simple

Symphony. Frolicsome means lively and playful.

George Kleinsinger Tubby the Tuba

George Kleinsinger (1914-1982) was an American composer best known for the piece

Tubby the Tuba. Paul Tripp (1911-2002), a children's musician, songwriter, and TV

actor wrote the story.

During World War II, Kleinsinger was a music supervisor for the US Army. After a

performance the tuba player from the band came up to Kleinsinger and said "You

know, tubas can sing, too," inspiring Tripp and Kleinsinger to write their tale of a sad

tuba player longing to play a melody. It was later recorded and became a hit. In 1975,

it was used to create an animated feature. The story has been translated into more than 30 languages.

Kleinsinger also wrote for Broadway and television. He was born in California and lived for many years in New

York City at the famous Chelsea Hotel with his birds, exotic fish, a tarantula and a pet snake.

What instrument would you most like to play? Why?

Think about a friend or member of your family. What type of music would you write to represent this

person? Would it be happy, humorous, fast or slow, high or low? What instrument would play the part of

that person? Make up a story to go along with music about that person.

"Tubby the Tuba" Click the link to the left to watch a performance of Tubby the Tuba on YouTube (at

https://www.youtube.com/watch?v=7cbI1tdX-1E)

In the story, why do you think the violins and the rest of the orchestra laugh at Tubby for trying to play a

melody? How does this make Tubby feel?

How does the frog make Tubby feel better? In what way does the frog give Tubby the confidence to play

his melody in the rehearsal?

Have you ever felt like Tubby? How did you overcome that feeling? Did someone (like the frog in the story)

boost your self-confidence?

Color the tuba. Add a mouth, eyes, a nose, a hat, and give your tuba a name.

My tuba is __________________________.

Eric Benjamin – Conductor, Composer, Arranger

After earning a master’s degree in orchestral conducting at New England Conservatory, Eric joined the faculty of Newton (MA) North High School where he taught music theory and music appreciation, coached chamber music and conducted the orchestra. He was on the conducting staff of the Akron Symphony and director of the Akron Youth Symphony for 11 years, returning recently as Associate Conductor. He has appeared as guest conductor with the Cleveland Orchestra Youth Orchestra, Erie Philharmonic, Canton Symphony, Columbus Symphony and numerous student festivals. He also holds the position of music director of the Tuscarawas Philharmonic, is currently the Music Director of the Alliance Symphony and on the faculty of the University of Mount Union.

Eric was the host and producer of the award-winning radio show “Klassical Kids,” a program for young people about classical music airing on WCLV Cleveland at 104.9 FM. The program won first prize for excellence in educa-tion awarded by Fine Arts Radio International. As a composer and arranger, Benjamin has produced a catalog of varied works for orchestra, chorus and soloists. In 2000, Eric was named Composer of the Year by the Ohio Music Teachers Association.

Ken Heinlein currently holds the position of Principal Tuba with both the Akron Symphony Orchestra and the Erie Philharmonic Orchestra. Additionally, he performs each summer as Principal Tuba with the Blossom Festival Band. Mr. Heinlein has also performed with the Cleveland Orchestra, the Rochester Philharmonic Orchestra, and the Jacksonville Symphony Orchestra.

Mr. Heinlein teaches both tuba and euphonium at the Baldwin Wallace University Conservatory of Music, where he also coaches brass chamber music and teaches the brass methods course to music educators. Additionally, he teaches at Kent State University, where he is also a member of the Kent Brass Quintet. Mr. Heinlein previously taught at Case Western Reserve University, where he taught both tuba and euphonium and was the director of the

Case Western Brass Choir.

Mr. Heinlein believes deeply in the important cultural and educational role of music. To that end, he frequently engages in solo performances and masterclasses in a variety of settings and schools and across the United States.

Kenneth Heinlein, Tuba

Dennis O’Connell, Narrator

Dennis O'Connell began his career in the Theatre as a professional actor while still in elementary school. Before graduating from college (University of Akron, B.A.) he became the Director of Drama at Walsh Jesuit High School for three years. He then spent six years as a free-lance stage actor and director, working in 16 states and Canada. Dennis began directing professional productions in 1989 and also got his feet wet in arts administration at the numerous theatres where he was acting and directing.

Professional affiliations include: Ohio Alliance for Arts Education, Ohio Citizens for the Arts, and SAG-AFTRA. He is Past President of the Akron Area Arts Alliance and served on the Board of the Summit County Regional Arts District. Dennis was named Co-Producing Director of Magical Theatre Company in 1992 - making him one of the longest-tenured arts leaders in Summit County.

Make sure to get your parents’ approval and help with these fun and interactive websites!

http://www.nyphilkids.org - This site sponsored by the New York Philharmonic has activities that include walking

through an interactive instrument storage room, creating your own music, making your own instrument from everyday household

items, and playing an instrument matching game!

https://www.carnegiehall.org/Education/Educators/Music-Educators-Toolbox/Resources

- The Weill Music Institute at Carnegie Hall has free digital resources for teaching and learning.

http://www.sfskids.org - Visit the San Francisco Symphony’s kids section to hear clips of each instrument in the

orchestra. You can also create your own music.

Resources

Feedback—Parents and Teachers

What age(s) are your children? _______

Do you think the program was appropriate for your child’s age level?

If no, please explain:

Did you receive adequate logistical information prior to the concert?

Was the information given during the concert effective?

How was the music?

If you have attended before, is it your preference to have the actors participate or is it fine with

just the narrator?

Was the Resource Packet useful? Did you make use of the materials prior to the concert?

What could we have done better?

Any other comments?

Please email responses to fgoldman@akronsymphony.org

or mail to Akron Symphony, 92 N. Main St. Akron, OH 44308

The survey will also be available online at akronsymphony.org

Feedback—Students Use the space below to draw a picture of your favorite part of the concert.